映像作品の計量的研究であるシネメトリクスでは、ショットの平均持続時間に注目したものが存在するが、この分野の発展のためには別の指標も必要である。本論はその指標を提案し、検証することを目的とするものである。ここではショットサイズに注目し、それに対する既存の研究を整理して新たな指標を提案する。対象として、書籍として出版されているため執筆者の特定が容易であり、指標を採集しやすい絵コンテを採用することとし、手塚治虫の作品に対してこの指標を適用した。手塚は、テレビアニメーションを開始する際に必要であった経費削減のため、ショットサイズに独自の傾向があると指摘されている。それを対照的な経歴を持つ宮崎駿の絵コンテと比較することによって、指標の検証を行うことができると考えた。統計的な検証の結果、手塚と宮崎のショットサイズには有意の違いが認められ、ショットサイズは指標として有効であることが示された。

本研究は，ビジネスゲーム開発者のための新しいフレームワークとビジネスゲームの評価方法を提案する．フレームワークの目的は，1）ビジネスゲームの開発経験が少なくても，想定したビジネスの特徴を捉えたビジネスゲームを開発できる，2）ゲームプレイヤがビジネスの特徴を理解しやすいビジネスゲームできる，の2点である．一方，ビジネスゲームの評価方法の目的は，新たに考案した「ビジネスゲーム理解度シート」を用いて，プレイヤのビジネスゲームの要素や構造についての理解を測定し，プレイヤに対する教育効果が高いビジネスゲームとは何かを明らかにすることである．フレームワークの効果測定は，筑波大学大学院ビジネス科学研究科の「ビジネスモデリング」講座と「ビジネスゲーム」講座において，社会人MBA学生を対象に二年間に亘り実施した．その結果，フレームワークの有効性を検証するとともに，ビジネスゲーム開発に必要な手順を示した．

The recent rise of the cultural industry, resulting from the continuous economic growth in the world economy, and the increasing diversification of media has attracted enormous academic attention. However, most researchers have underestimated the nature and importance of uncertainty in the cultural industry.

It has been recognized that in the cultural industry there are conflicts between distribution and production sectors caused by their different objectives: the former pursues economic profits, whereas the latter set a high value on creation itself. On the basis of this notion, this article scrutinizes the factors of agglomeration in the production sector which produces cultural products.

The agglomeration mechanisms of the cultural industry have been discussed from these points of view: the convenience for production attained by the proximity of firms and/or specialists; flexible specialization to deal with the uncertainty of the market and the industry; the environments preferred by creative workers, and the cultures and the institutions that stimulate their creativity. These studies, however, have rarely shed light on the following points: (1) that “production” in the cultural industry is an R&D activity that emphasizes cultural values; (2) the importance of the production process; (3) the fact that highly creative cultural products do not always lead to good sales.

Therefore, this article analyzes the conditions under which “creative innovation” for the cultural industry can be achieved by a close examination of previous studies on innovation, creativity, knowledge, and agglomeration. The growth of the cultural industry arises from the worldwide penetration of aesthetic reflexivity, which virtually makes it impossible for providers of cultural products to predict and grasp the behavior of consumers. In the cultural industry there is a high level of uncertainty and it is creativity, not efficiency achieved through imitation, that increases the commercial value of cultural products; therefore the “learning” concept, which considers the diffusion of “best practices” as agglomeration economies, is an inappropriate method of analysis. Additionally, aesthetic reflexivity also requires the value of certain knowledge to be judged in the knowledge creation process by inputting cultural products into the market. To release cultural products in which this knowledge is embodied requires great cost because most of these products are usually unprofitable due to the reflexivity (or uncertainty) of the market. Hence, firms need to have a tolerance for “redundancy” which means an “inevitable inefficiency in the process of producing and selling products.”

The individual firm’s tolerance for redundancy, which is the source of creativity, heavily depends on location and the degree of the distribution sector’s power of control over the industry. On the basis of this notion, a creative place can be defined as one where the tolerance for redundancy can be augmented. It can be concluded, therefore, that an agglomeration is a creative place if the agglomeration economies can strengthen firms’ tolerance for redundancy in which the power relationships between the distribution sector firms and production sector firms do not greatly impair the latter’s creativity.